Saturday, January 8, 2011

Mardi Gras Colors on Paper

Since his earliest Cajun paintings, George Rodrigue painted the parades, costumes, and colors of Mardi Gras.Over the next six weeks (leading up to March 8th, Mardi Gras Day), I’ll explore that history within this blog, including his Cajun posters for small town Louisiana carnival traditions; twenty years of Mardi Gras Blue Dog silkscreens; photographs and stories from his reigns as King and Grand Marshall for krewes in Lafayette, New Orleans, and Washington, D.C.; the story of the Blue Dog Float for the Krewe of Argus, along with the frenzied collection of its Blue Dog doubloons; and finally George’s current Mardi Gras projects, beginning with the mixed medias featured in this post.

For George Rodrigue, Mardi Gras equates with color:

“Right after Christmas, which is mostly white lights and silver bells, Mardi Gras season arrives full force, interrupting winter with a burst of color.These hues come from the thousands of different costumes, masks, flags, floats, beads, and doubloons, all of which swirl around the three primary colors of purple, green and gold.”

In 1872 the King and Krewe of Rex selected these official Mardi Gras Colors, meaning justice (purple), faith (green) and power (gold).

As George sat at his easel in Carmel, California, on the heels of Christmas, yet in full Mardi Gras mode, I watched him paint and couldn’t help but think about the detailed and patterned Tibetan sand painting, or mandala, we witnessed barely a week ago in Santa Fe, New Mexico.Stunned by the work, George whispered as we watched the Drepung Loseling monks,

“It’s the most unbelievable thing I’ve ever seen.”

(for more photos and the story of our recent encounter with Tibetan sand painting see the post:“Tranquility from Chaos”)

Without telling him, I wondered if this ancient tradition would influence his work.However, when I asked him yesterday about his current project, he seemed unaffected by the mandala’s complexity:

“A simplification of Mardi Gras shapes is the first part of the whole carnival season.”

And yet he mentions the sand painting daily, indicating that it resonates still, perhaps in the form of colors, patterns, and strong designs.

George’s visual and creative process is complex and highly personal.Although there are times that specific events such as 9/11/01 or Hurricane Katrina directly affect his work, more often he lives within the current broodings of his mind, known to him alone.A reporter once asked him,

“Now that you’re working in Carmel, will you paint the lone cypress, the ocean, the California countryside?”

Surprised by the question, George replied,

“Why would I do that?My landscape is in here (hand over heart), and that’s Louisiana.”

Unlike paintings on canvas, these Mardi Gras images are George’s first as mixed medias, essentially an original silkscreen design printed on heavy paper, so that the Blue Dog remains identical not only in shape (as expected), but also in size and placement.He paints using acrylics, veritably decorating the dog, costuming it in Mardi Gras imagery and colors.

(pictured, George Rodrigue at his easel in Carmel, California, January 8, 2011)

The Mardi Gras costume tradition surpasses Halloween in creativity, longevity, and necessity, vital for parties, watching parades, and of course riding on floats.

My friend Tabitha Soren* rode with me several years ago in the all-female Krewe of Muses.I recall our headpieces, foam King Cakes, complete with plastic babies and cake knives, driving us crazy as we hurled blinky beads, stuffed animals, and eventually the headpieces themselves (!) to the crowd on Saint Charles Avenue.It’s an insane form of excess and waste, a marathon month-long cause for acute exhaustion and a flu-like recovery, a family event oftentimes confused by the outside press with the confined debauchery of Bourbon Street, a treasured tradition that comforted a wounded region following the worst disaster in U.S. history, and nothing short of an absolute blast.

If you follow this blog, you know that we’ve been on the road since mid-December, crossing America with modern art discoveries in West Texas, a turquoise mine in New Mexico, and an unexpected adventure on I-40.For the first time in my life, I did not decorate for the holidays.And yet just yesterday I overheard George on the phone with our warehouse,

“Be sure and put up the tree; she’ll want to decorate the minute we get home.”

You may remember me. My wife and two daughters and son went to George's book signing and your reading at Hicklebee's book store in San Jose. (My daughter Kylee presented George with her rendition of our dog).I had my first New Orleans experiences in the last few moths and have fallen in love with the city. Unfortunately I could only get down to the Quarter after the gallery had closed each day. I hope to get the family back there for the Jazz Festival.We are interested in acquiring the Mardi Gras Blue Dog that George painted in Carmel in the pictures dated January 8th 2011. Could you please drop me a note so that we can discuss?Thanks very much. ( I really do enjoy your blog).Best regards,Kurt

Hi Kurt --- I do remember you! George and I had a wonderful experience at Hicklebee's, that rare and special breed, a thriving independent children's bookstore.

Unfortunately I do not have your email address, or I would pass it along to Amanda Foret at our gallery in New Orleans. She is there today and tomorrow, and could definitely give you more information regarding these beautiful works. You can reach Amanda at amanda@georgerodrigue.com or (504)581-4244.

The computer age is so marvelous! Seeing an image of George at his easel, wearing a Brees shirt, and painting...just as recently as 2 days ago!Looking forward to some pictures of dat tree!Keep up the excellent writing, Wendy.

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About Me

I was born on a military base and raised in Fort Walton Beach, FL.
Attended Trinity University in San Antonio, TX, majoring in Art History and English, followed by European Art and Architecture in Vienna, Austria, and graduate school at Tulane University in New Orleans.
Worked for the Rodrigue Gallery in New Orleans and later Carmel, CA, beginning in 1991, and married George Rodrigue in 1997.
I've written guest columns for publications including Gambit, Country Roads Magazine, and Louisiana Cultural Vistas. As of 2017 I live between New Orleans, Louisiana and Santa Fe, New Mexico. I work extensively on George Rodrigue exhibitions and publishing projects, and lecture widely on his art.
I remain involved full-time within Rodrigue gallery operations and the George Rodrigue Foundation of the Arts, with an ongoing focus on preserving and enhancing Rodrigue's artistic and philanthropic legacy.
My first solo book, "The Other Side of the Painting" (UL Press), was published October 2013.